Access to these files is restricted to students in Professor Clark's classes. A print copy is available for check-out and interlibrary loan through the UO Library under the call number: PN56.M54 C55 1991

Hart, Hilary, 1969-
2008-02-10T03:22:56Z
2008-02-10T03:22:56Z
2004-03
http://hdl.handle.net/1794/297
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
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en_US
University of Oregon
University of Oregon theses, Dept. of English, Ph. D., 2004;
Griffith, D. W. (David Wark), 1875-1948 -- Criticism and interpretation
Stowe, Harriet Beecher, 1811-1896 -- Criticism and interpretation
American fiction -- 19th century -- History and criticism
American literature -- Women authors -- History and criticism
Women and literature -- United States -- 19th century
Sentimentalism in literature
Rhetoric -- Study and teaching -- History
Speech -- Study and teaching -- History
Motion picture acting
Silent films -- United States -- History and criticism
Sympathy in literature
Emotion in literature
Race in literature
Sentimental spectacles : the sentimental novel, natural language, and early film performance
Thesis

McCormick, Stephen Patrick, 1979-
2012-02-08T01:55:00Z
2012-02-08T01:55:00Z
2011-06
http://hdl.handle.net/1794/11937
xvi, 312 p. : ill. (some col.)
My dissertation focuses on the thirteenth- and fourteenth-century Franco-Italian literary corpus. These texts, written in a hybrid French-Italianate language, include such works as the Entrée d'Espagne and, more famously, Marco Polo's Le devisement dou monde. Using postcolonial theory, I identify nationalist ideologies in modern scholarship that have marginalized the Franco-Italian tradition. This tradition exemplifies a medieval aesthetic of cultural and linguistic hybridity that defies modern constructs of national linguistic identity, border politics, and linguistic purity. My revisionist study argues the independent merit of medieval Lombard literature and replaces the national model with a mosaic of overlapping linguistic and cultural centers mapped according to their respective narrative communities. I use two Franco-Italian texts--a version of the Chanson de Roland and the Huon d'Auvergne --to explore how the borders of the modern printed book have distorted our interpretation of medieval Lombard works.
The Chanson de Roland exists in ten French versions. Following nineteenth-century textual emendation praxis, most modern editions are based on Oxford Bodelian Digby 23. The Franco-Italian version of the Chanson de Roland (Biblioteca Marciana fr. IV [=225]), or Venice 4, has received little critical and editorial attention. I problematize the putative superiority of the Oxford manuscript and propose the theoretical apparatus necessary to reinterpret the Venice 4 text within its geo-social specificity, outside the textual borders of the modern printed literary classic.
Finally, I explore how each Huon d'Auvergne manuscript can function as a performance artifact which, because of its irreproducibility, must be considered an original document, not merely a component within a hierarchy of textual transmission. I examine how Andrea da Barberino later creates an authoritative, politicized reading of the Huon d'Auvergne by removing it from its manuscript matrix and placing it within the textual boundaries of chapters and books.
By de-stabilizing and de-centering notions of literary canon and linguistic purity, my study suggests new ways of interpreting not only minority medieval narrative traditions but also present-day hybrid language migrant narratives in both France and Italy.
Committee in charge: Barbara K. Altmann, Co-Chairperson;
F. Regina Psaki, Co-Chairperson;
Robert Davis, Member;
Warren Ginsberg, Member;
Leslie Zarker Morgan, Outside Member
en_US
University of Oregon
University of Oregon theses, Dept. of Romance Languages, Ph. D., 2011;
rights_reserved
Romance literature
Language
Medieval literature
Chanson de Roland
Literature and linguistics
France
Italy
Lombardia
Epic
Franco-Italian literature
Huon d'Auvergne
Postcolonial theory
Renaissance
French literature -- To 1500
Italian literature -- To 1400
Remapping the Story: Franco-Italian Epic and Lombardia as a Narrative Community (1250-1441)
Franco-Italian Epic and Lombardia as a Narrative Community (1250-1441)
Thesis